Category: Divine Gate

As Arthur summons Oz (that’s right: the Wizard of Oz…oh my) along with Loki, not necessarily for their aid but to at least bear witness to the impending discovery of the Divine Gate, the show takes a closer look at the cheerful, energetic Midori, who not surprisingly is dealing with demons just like Aoto, which affects her focus and performance in a sparring exercise, and may prove more of a crippling liability as the quest to find the gate heats up.

We haven’t even been formally introduced to three of the six kids in the core group, but as Akane talks with them, one makes clear that Midori’s intense belief in the Gate, or something related to it, could be hampering her development, like an anchor holding back a boat (not the most flattering metaphor, I’ll admit).

As Aoto is initiated into the academy, he still declines warm food and has trouble putting into words why exactly he’s there (as opposed to how he came to be there). But it’s a brief outburst by Midori about “being number one” that shifts Akane’s attention to her later.

Midori decides to open up Akane, telling him about her friendship with Elena, someone who only wanted one friend: her. When Midori, a far more outgoing girl, inevitably made other friends at school, it poisoned the bond between them, culminating in an ultimatum from Elena that Midori simply could not accept. This was a decent, no-nonsense execution of the Obsessive Friend theme.

Midori fails to make up with Elena, who rather than attend the summer festival as they always do, heads off to find the Divine Gate on her own. Once Midori hears of a girl disappearing in the mountains, she rushes to a police-filled scene, and actually sees the massive gate looming over the mountain.

Ever since that strange, vivid experience, Midori has not only believed in the gate, but believed Elena was already there, waiting for her. She wants Elena to still be alive, but she also wants to repair the bond she broke by rejecting her ultimatum (which wasn’t an unreasonable move, but obviously came at a stiff price).

Aoto hears a little of the story, and it probably shows him that he’s not the only one with issues, but unlike her, he’s also got a little boy in his head telling him how messed up he is all the time. Akane and Midori can see him talking to someone they can’t see, and it worries Midori.

She does some digging online (on a computer with a keyboard that seems way too loud and disruptive for a library), but as soon as she accesses Aoto’s files, a red “Restricted Access” wall goes up, stopping her in her tracks and making her and Akane wonder what the heck Aoto did, or what was done to him.

Another episode that efficiently fleshes out one more character, Midori, without solving all her problems, but making us understand her better. I imagine the show will eventually do this with Akane and the other three prominent kids in the group, parallel to Arthur and the Round Table’s more abstract machinations.

However, I won’t be around to see it, because the mystery of the gate just isn’t doing anything for me, and there’s no indication the revelations (if they ever come, as we’re likely to be strung along for some time beforehand) will be any less half-baked than the characterization of iconic characters like Loki and Oz. So I’m making a discreet exit now; no hard feelings.

Divine Gate’s second episode delves further into both Aoto and Akane’s troubled (if very different) pasts, and there’s some okay character work going on as Aoto discovers a way to start moving forward.

But it paints with awfully broad and familiar strokes, and my initial enthusiasm about Divine Gate being an absorbing if imperfect diversion took a big hit when I was introduced to Loki, another very loaded character name.

The idea of a character who’s neither entirely good nor evil is good in theory, but the execution falls short, thanks to his really dumb clown/jester design. I don’t particularly want this joker pulling the strings. Also, a name like Loki has inescapable baggage attached to it. Like King Arthur or Leonardo da Vinci, if you’re going to use a name, you’d better do something interesting with it.

Meanwhile, the refreshingly normally-dressed Akane and Midori visit Aoto again, they see he takes care of alley cats, but not all the time, only “when he feels like it”, something Akane thinks is worst than not feeding them at all. But when the hungry creature in need shifts from cats to a little boy, Akane himself can’t help but help, even if he can’t always be there to do so.

When Loki makes a police robot go berserk and the kid ends up in mortal peril, and the father is too terrified and injured to save him, Aoto has to make a choice; like the one he made on the train last week.

He chooses to help Akane and Midori, who destroy the robot while he extinguishes the fire. While the saved boy initially hesitates going to his inept father, and Akane curses the dad for doing nothing, Aoto can relate to consciously wanting to do something—like move forward—but being hampered by a subconscious that’s not in sync. The father’s fear overpowered his conscious desire to save his boy.

I know all this because a little boy with white hair and red eyes in Aoto’s subconscious tells him and us, which is a bit clunky, truth be told, like the clowny Loki, the very sight of whom irritates me. But he apparently staged the whole crisis to shake Aoto off the shelf, and he succeeded.

Aoto goes back to the night his parents were murdered, and we learn it was his brother, the favorite son, who actually did it. When Aoto takes his hand, he briefly sees the Divine Gate, but his subconscious delivers a shock of pain to his brother, who separates their hands and walks off, never to be seen again.

So Aoto isn’t the parent-killer. Yet I felt that absolving him so easily was an overly safe choice that sapped his character of darkness and complexity. Being messed up because you killed your parents, and being messed up because your brother did, are two different things.

But it’s because his brother is still out there, and he wants to see him again, that Aoto joins the academy. Also, because Akane and Midori were “annoying”.

Many years ago, Noriyuki Abe wasted no time drawing me into a world where a youth named after a berry, who looked like a delinquent to many around him, actually had a very kind and generous heart. He could also see and talk to ghosts, which is how he met his first shinigami; a very cute one who sucked at drawing.

I’m talking, of course, about Bleach, my first extended foray into serialized anime. There’s a lot of that same welcoming, beckoning quality coming off his latest work Divine Gate, as well as its exploration of spirituality and mythology. It’s a hard feeling to put into words, but Active Raid didn’t have it; not for me at least. Divine Gate, like Bleach, did.

In DG the normal human world is just the normal human world, but there are two other worlds: a world of fairies and a world of demons. A few of those humans have elemental powers, and work under Arthur of the World Council either as full-fledged members or academy students like Akane and Midori.

Then there’s Aoto, who’s clearly a powerful water-user, even without a power-enhancing driver, but wants nothing to do with the Council, despite Arthur’s believe his powers will help maintain peace between the three worlds. Instead of attending a school that will help him hone his powers, he’s at regular old school, where his peers shun him as the infamous “parent-killer.”

Even though most of Aoto’s early dialogue is internal (and quite flowery), the fact I can hear what he’s thinking is an effective way of drawing me into his world and his plight. He’s mopey and morose, but there are very good reasons for it.

Meanwhile, since this is a show about elements and colors, his moroseness is balanced by his would-be academy mates. Akane outwardly mocks Midori for actually believing in the titular “Divine Gate” that will grant any wish once opened with the power of all the elements, but somewhere in the heart of every student and Council member is a desire to encounter that gate, their individual wishes ready to go.

Midori and Akane meet Aoto twice, but neither encounter goes particularly well. He’s got a wall up, one they don’t—and can’t—quite understand, anymore than they understand right now how a kid could really kill his parents—which Aoto freely admits when the subject comes up (though I’m not sure he’s being truthful).

But the flashback makes it clear: Aoto was the family pariah; his parents doting on the younger son while he was exiled to a shed in the backyard eating cold food. His brother knew of his plight, but also knew Aoto had the power to do something about it, so he did nothing, instead doing whatever he wanted.

So Aoto endured a thoroughly cold and loveless upbringing. Why exactly, we don’t know. The “rain” (his tears) continues to fall unendingly inside him. He doesn’t believe power can do anything, because he’s always had it and it’s never done him any good. But perhaps, with more interaction with other perspectives and elements, those inner clouds could break one day, and he’ll find that wish to be used at the Gate.

DG effortlessly drew me into its world; it’s a place I wouldn’t mind coming back to next week. Not sure about the show’s logo, though. Tilted Impact?Really?